sabato 27 dicembre 2014

The Palestinian music scene offers many great alternatives. This mixtape analyzes the component more experimental. The experiments of internationally established artists which Dirar Kalash ,Donia Jarrar and Kamilya Jubran, the new projects of Boikutt, Stormtrap and Basel Abbas, former members of the collective Ramallah Underground, the sound evolutions of today's hip hop producers and the work of Shams Asma, perhaps one of the best multimedia artists in the Arab world, are here to witness how Palestinian art is not only folklore and memory.

venerdì 28 novembre 2014

Dounia Batma ( born April 1, 1991, in Casablanca, Morocco) is a Moroccan singer who rose to popularity around the world as the runner-up of the first season of Arab Idol (the Arabic version of Pop Idol) on MBC. She lost the title against Egyptian contestant Carmen Suleiman. Batma was born and raised in Hay Mohammedi, in the Ain Sebaa-Hay Mohammedi district of Casablanca, Morocco. Her uncle, Laarbi Batma, is the leader of Moroccan fusion group Nass El Ghiwane, considered by Martin Scorsese as "Africa's Rolling Stones".She studied tourism after high-school, without stopping to dream about a musical career.In 2010, at the age of 18, she took part in a Moroccan musical competition, called Studio 2M, broadcast on 2M TV, in the Oriental category. She sang various songs of both Moroccan and Middle-Eastern repertoires, and reached the semi-finals. Even if she didn't reach the final, she managed to release a single "Aalash Tgheeb" (Why are you hiding?) in Moroccan Arabic which didn't become very successful. But she realized that she would need to go further to get the career she was expecting and Arab Idol was a great venue to reach the Arab World heart.On 8 September 2011, Batma auditioned for the Arabic music competition Arab Idol. The show is the pan-Arab version of Pop Idol and a rebirth of Future TV's show Super Star. The winner of the competition should win a contract with recording label Platinum Records and Chevrolet Corvette (C6) as well as an important advertisement campaign with Pepsi.

She auditioned in Casablanca, and performed La Tfaker (by late Tunisian singer Thekra) in front of the jury composed by Lebanese pop singer Ragheb Alama, Emirati diva Ahlam and Egyptian music producer and musician Hassan Shaf'ei. They invited her to join in, which introduce her to the Arab audience. She was selected in the top 10 against contestants from Tunisia, Syria, Jordan, Saudi Arabia, Iraq and Egypt.

Batma's vocal abilities amazed the members of the jury and made her among the favorites since the very first prime, where she performed Talal Maddah's "Magadir". Her performance was so strong and so intense that it made Ahlam cry out of emotion. She then excelled in various dialects and various styles from classic Egyptian songs (Umm Kulthum, Mohammed Abdel Wahab, Warda, Faiza Ahmed), to Arabic pop music (Samira Said, Fulla, Najwa Karam, Asala Nasri) and Gulf music (Ahlam, Mohammed Abdu, Talal Maddah).

Among her most notable performances were her rendition of Umm Kulthum's Darrat El Ayam, for which she received unanimous praises from the jury and her singing of Ahlam's Akhtar Men Awal Ahebak (in Gulf Arabic), for which Ahlam (the singer of this song and member of the jury) said : "It is an honor that you sung this for me".

On March 24, she lost the title against the Egyptian contestant Carmen Suleiman.

During a press conference, Batma seized the chance to clarify that her try in the Middle East is due to the opportunities that can be offered there, and added that “the launch of my artistic career from the East won't affect my contribution to the promotion of Moroccan art, and won't also affect my pride of my mother tongue”. Many viewers noticed that Batma didn't use her Moroccan Arabic whenever she was speaking in front of the audiences and switched to another Arabic dialect (mostly the Khaliji dialect) as most Moroccan artists usually do when they travel to the Middle East. She considers Asma Lamnawar and Hoda Saad as role models

After the show, the CEO of Saudi Platinum Records, Rashed Al-Majed, signed her to the label. saying that her voice was "rare". She received a Mercedes. Dounia Batma got married to her manager Mohammed Al Turk on 20 December 2013.(Source : Wikipedia)

giovedì 27 novembre 2014

Sabah, an actress and singer considered an icon in the Arab World, has died, Lebanese media reported.

Al-Nahar newspaper said the Lebanese diva passed away on Wednesday morning at her residence at the age of 87. The Lebanese official news agency confimed her death, saying she passed away in Beirut.

During her more than six-decade long career, Sabah, who was born as Jeanette Gergis Al-Feghali, released over 50 albums and acted in 98 films.

She is reportedly the first Arabic singer who performed at Olympia in Paris, Carnegie Hall in New York, and Piccadilly Theatre in London and Sydney Opera House in Sydney, according to the Beirut-based Daily Star newspaper.

The deceased singer was born in Bdadoun, a Lebanese town in the Baabda-Aley province.

She is known for her multiple marriages, tying the knot with at least nine men.

She brought out her first song in 1940, while her parallel screen career began three years later in Egypt, the centre of the Arabic film industry.

She held Egyptian, Jordanian and US citizenship as well as Lebanese, and continued to perform and make television appearances into her 80s.

In Lebanon, she was humorously mocked for refusing to leave the limelight, clinging to youth through surgeries, marriages to younger men and garish outfits.

Sabah was nicknamed "Shahroura", Arabic for "singing bird" and "the Sabbouha," a diminutive for "Sabah" by millions of fans across the Middle East.

"Today, Lebanon lost a legend. Sabah is gone but she remains in our hearts," famed Lebanese pop singer Nancy Ajram said on Twitter.

"Her memory will remain in the minds and hearts of millions," she tweeted.

Lebanese politician Walid Jumblatt wrote on Twitter: "She was a great singer of a Lebanon that my generation knew, that will never come back".

venerdì 21 novembre 2014

The experience of the brothers Megri is been unique in the history of the Moroccan music. In the 70s, they were the protagonists of a romantic-pop music in Morocco.

Les Frères Mégri was a Moroccan rock band formed in Oujda, Morocco. The band consisted of four members, the three brothers, Hassan, Mahmoud and Younès Mégri, and their sister Jalila Mégri. Before the creation of the band, the four Megri brothers were popular session musicians, composers and producers from Morocco.

The group was created by Hassan Megri, author, composer, singer, painter and passionate researcher of Persian calligraphy.

Hassan Megri حسن مجرې

In 1957, Hassan, along with his brother Mahmoud, records for Moroccan radio the song "Min Youm Habitek " . The duo began a concert tour, playing in the main cities of Morocco.

The next few years will be dedicated to creating a musical style more personal. Sources of inspiration will be the musical tours and research trips through the Arab countries, the Mediterranean area, Asia Minor and India.

In the early seventies, after they signed a recording contract with Philips Records of France, Hassan and Mahmoud released four singles as Les Frères Mégri. "El Harib/Heya Essamra", "Galouli Ensaha/Kellemtini", "Sebar / Ououd Ou Chouk" in 1971 and "Sabar / Chaaltiha Nar" in 1972.

Younès Megri يونس مجرې

Their musical approach. very close to the feelings of the new generation of young Moroccans hungry for new things, take them to be considered as the Beatles of the Arab world.

The band gained wide recognition in Morocco, the Arab World and Europe. Later, Les Frères Mégri released two albums in 1974, the first album "Younes et Mahmoud" was a collaboration between Younès and Mahmoud. The second album, released in the same year, "Younes Hassan Mahmoud" was a collaboration between all three brothers. The full recognition of their work will take place during a European tour in 1976 with a concert at the Olympia theater in Paris. For all of the '80s will continue to perform at various festivals.

In 2004, Hassan and Jalila released an album "Hassan & Jalila - Sebbar " as Les Mégri.

martedì 18 novembre 2014

Knowing that the immense task of being another Nass el Ghiwane clone was going to prove difficult, Lemchaheb decided to go their own way since day one। Their predecessors Nass el Ghiwane were already excelling at reviving the millennia old legacy of Morocco's musical heritage in popular music। Lemchaheb chose to stick to just making popular music, and surprisingly, excelling at that too! Lemchaheb's music was simpler and catchier: mandolins and guitars, percussions, and vocal harmonies। They chose not to associate themselves with any brotherhood।Their achievements helped establish the modern chaabi music in Morocco in a way that they were among the first to play Moroccan pop music using western instruments, hence setting the rules for the genre.

Lemchaheb, or the "The Torches", also hailed from Hay el Mohammadi in Casablanca. The band was started by Moulay Cherif Lamrani who approached Mohamed Bakhti, a friend of Nass el Ghiwane, about starting a similar band in 1973. Moulay Cherif had a father who was conducting bands in Oran on the lute. He learned a lot from his father as well as from the Oujda Conservatory of Music. His first band was something similar to the Oujda band, Ikouane Migri (Migri Brothers) who were playing western pop music, and had drums, guitar, bass and keyboards. The first Lemchaheb line-up consisted of Moulay Cherif, the Bahiri brothers (ex-Tyour el Ghorba) and a young girl Saida Birouk. They released an EP of four songs and gained notice. The Bahiri brothers changed course and it was time to hire new recruits. First was Mohamed Batma (brother of Laarbi Batma) and his longtime friend Mohamed Sousdi, then Hassani-poet Mbarek Chadili. Hence, the first official lineup was formed by Mbarek Chadili, Moulay Cherif Lamrani, Mohamed Sousdi, Mohamed Batma and his wife Birouk Saida around 1975.

Their infectious melodies soon took hold of a large portion of listeners. By the end of the seventies it was hard not to sing along songs such as Khiala, Dawini, Denia Allah, Khayi, El Oued (El Ghadi B'id), Amana and Attaleb. Saida left the music scene shortly after and Mohamed Hammadi joined. Other classics came in, such as Meddahou, Ya Chra' and Yahli.

In the early 80's, Chadili left and they hired Noujoum Ouazza on the electric guitar. His sound is very distinctive; a clear toned electric with a chorus+flanger effect. He added a dreamy sound that complemented Lamrani's acoustic mandolin. His impact on the band is still present in the band's sound; the flanger effect that he used became a trademark. Even Lamrani adopted later an acoustic mandolin but with an electric pickup and a light flanger effect. This short-lived line-up would rework some old songs and also write new songs of its own. Who could forget Moualna, Tbaye' Annass, and Khlili? After receiving an offer from the German World Fusion band Dissidenten to join them on their album, Lamrani left the band temporarily and brought Chadili with him to Germany. They wrote and played the already classic material featured on Sahara Elektrik. Meanwhile, Noujoum took complete control of string duties, and Chadili and Lamrani released some solo albums when not playing with Lemchaheb. This period of Lemchaheb was very mediocre compared to their previous years. They started including electronic drums like Jil Jilala and released awful albums like Tab'i Rebbani, Majnoun Had el 'Alam and Ibda'ate Khalida. These albums nonetheless contained some real standout tracks like Goubail Dehmiss, Lgara and Tfada Ya Louglib.

Noujoum left Lemchaheb to become a full-time member of the Dissidenten live line-up. And with Lamrani back on the mandolin, they release T'ala a Bouya Tchouf and Ya Latif. These two albums contained such great tunes like Youm Kounti M'aya, Dounia Allah (II), Ya Latif, and the epic Al Jounoud. After taking a hiatus in the mid-90's, they came back with a stream load of albums. They did however update their sound: they started incorporating elements of modern music such as drums, bass and keyboards. But fans of Lemchaheb need not worry, the basic elements were still there; the symbolic voices of Sousdi and Batma, the high wails of Hammadi and Chadili and of course the mandolin of Lamrani were still in good shape. Great songs like A'tini Mnin Na'ti Yal 'Ati, Zenzen ya Nhel, Koura ya Ard were made as well as Dounia which is a tribute to Laarbi Batma. They also updated a lot of their timeless classic with their new sound.

venerdì 14 novembre 2014

Imed Alibi is an exceptional percussionist and musician. He started playing percussion at an early age in classical North African/Middle Eastern orchestras. He moved to Montpellier, France in the early 2000s, where he played in a variety of groups, working in a variety of styles – from flamenco, Eastern, gypsy fusion bringing his musical talent to dance and theatre. For eight years he toured with the Boukakes, an oriental rock band that produced two studio albums. Since then he has played with Rachid Taha, Safy Boutella, Mamdouh Bahri, Ghalia Benali, Watcha Clan, Mounir Troudi and Michel Marre and composed music for a documentary for the ARTE channel in 2012. For 4 years he also recorded and toured with the Tunisian singer-songwriter Emel Mathlouthi. He released his album SAFAR in 2014 in colloaboration with stéphane Puech and Zied Zouari produced and by Justin Adams.

lunedì 10 novembre 2014

Jowan Safadi is an alternative Palestinian singer, songwriter and guitarist, from Nazareth, who creates Arabic music with various influences. Dedicated to bringing fresh sound and lyrics to the alternative arabic cultural scene, with a wide range of challenging songs from political and social to emotional and philosophical themes.

Jowan Safadi started his career as a singer, songwriter and front man of “Lenses”, a project which ended in late 2007 producing 3 studio albums of experimental rock. Jowan's solo breakthrough kicked off in 2008 when his single Ghool topped local radio charts, captivating underground audiences with its fuzzy electrorock sound. This was followed by a series of enticing singles until his debut solo album Namrud was finally released. Smoothly fusing punk-rock aesthetics with Arabic grooves and intonations, it included songs such as “Electricity” and quirky parody "Poor Infidels" which rapidly became an anthem for fans across the Arab world. Poor Infidels also subsequently led to his detention in Jordan, for which Jowan was accused of blasphemy. While Jowan’s lyrics can be controversial, subtly toned with his personal reflections on a wide range of issues related to politics, religion and philosophy, this fundamental component is what gives his work a rare and revealing authenticity.

I used to have a clean bitchThe cleanest everfrom an authentic pedigree family especially the mothera purebred bitch with paperswith a muzzle and collarI loved her and so did sheI treated her like my babyMy bitchMy loveMy bitchMy loveMy mama don't like dogsShe thinks they're disgustingShe said please, my sonWe don't need this thingI told her not to worryWe'll keep it all cleanShe said oh my son,you love her better than me?My bitchMy loveMy bitchMy loveShe went to play with the dogsThey came to sniff herWhen she lifted up her tailThey fell in love with herI was just a little kidAnd I didn't understandI pulled her, she pulled me backShe almost bit my handmy bitchmy love...My bitch

Tayran ababyl طيرًا أبابيل ( Birds of fire )

written at the time when the war was striking Gaza

O my Lord, send us the birds of fireAimed at the oppressors with stones of burning claySee, what the children of Israel has done to usAnd explain us the difference between them and the people of the elephantO great Lord, show us that you do not like what is happeningO strong Lord, saved us from your chosen people

O fire, be cool and peace for usO fire, burn the one who sent you on us

O Lord, strong lord, cool down the fire flames for usO my Lord, save us from weapons of mass distruction